Sung Tieu: 1992, 2005
Bridging memory work and the uncanny, Tieu’s exhibition confronts Germany’s buried xenophobia through slippery visual and sonic signifiers that elude any stable index.
At first glance, Sung Tieu’s large-scale exhibition 1992, 2025 at Berlin’s Kunstwerke Institute for Contemporary Art (KW) is a survey in the classic sense of the term: it provides both an overview of the incredible breadth of forms and materials the artist deploys in her practice and a confluence of biographical, institutional, and cultural concerns that have especially demarcated her exhibitions in Germany over the past six to seven years.
Exclusive to the Magazine
Sung Tieu: 1992, 2005 by Damian Lentini is featured in full in Issue 3 of Memo magazine.
Get your hands on the print edition through our online shop or save up to 20% and get free domestic shipping with a subscription.
Related
Whether collaboration has a “future” raises a deeper question as to how collaboration can stake a claim on the future as such.
From Rhode Island School of Design‘s anti-commercial posturing to Gagosian’s prismatic salons, this fictional Anna Weyant chronicle exposes the brutal mechanics of ambition in contemporary art.
From borrowing Tarkovsky at the UQ library to representing Australia at the Venice Biennale, Archie Moore’s art interrogates memory, history, and place. But what role does cinema play in his practice?
